Catharine Savage Brosman’s singular and authoritative voice, familiar to poetry readers in the South since the late 1960s, is heard again as she brings to scenes and topics, both new and familiar, her broad range of craftsmanship and styles, using, as one critic wrote, “metaphors brilliantly fitted in detail to the moods and workings of the human heart and mind.” Her poetic practice shows how closely the art of verse can, and must, be connected to human experience, the very feel of which comes through in the poems here. The book features travel poems from four continents, rhymed lyrics on small or expansive topics, narratives in blank verse (concerning El Cid, Swift, Dickens, Charles Dodgson, Saint-Exupéry, and two women writers), five translations from Baudelaire (among the least-known poems), and satires concerning painting and publishing. Recurring themes include “great age” and death, friendship, piano playing, flowers and gardens, and the desert.

Abandoned Quarry publishes for the first time in a trade edition Lane’s poems from Quarries, As the World Around us Sleeps, Against Information & Other Poems, The Dead Father Poems, Noble Trees, and other chapbooks, broadsides, and little magazines. Mostly out of print, or simply unavailable except in rare book collections, the selection of poems in Abandoned Quarry shows the growth and fullness of spirit of one of the important Southern poets to emerge in the 1980s.

In the story of the earth, geologists tell us that around 12,000 years ago the planet shifted from the Pleistocene to the Holocene. There probably were poets to sing about that change, but of what they sang, we have no records. Even earlier, paintings on cave walls point toward an artistic response from our upstart species. These early artists painted the Pleistocene’s last great ice age herds thundering past. Now John Lane’s traveling geologist sings a dawning epoch’s blues. The Anthropocene is upon us, and his poems show how humans believe they have become “the planet’s boss, the big chief, the emperor of air, diesel fuel,/bow thrusters, and tax shelters…”

Breakwater, Catharine Savage Brosman’s new collection, presents a wide variety of lyrics, narrative poems, and meditations in free verse, blank verse, rhymed quatrains, and other forms. Whether she is describing the flight of egrets, a bougainvillea vine, a family running from the Nazis, the beauties of Unaweep Canyon in southwestern Colorado, or adventures of the heart, Brosman’s technique allows her to convey the very essence of her topic by those incantations and “immaterial conceits” (as the poem Éventail puts it) that are the mark of exceptional poetry.

Breakwater, Catharine Savage Brosman’s new collection, presents a wide variety of lyrics, narrative poems, and meditations in free verse, blank verse, rhymed quatrains, and other forms. Whether she is describing the flight of egrets, a bougainvillea vine, a family running from the Nazis, the beauties of Unaweep Canyon in southwestern Colorado, or adventures of the heart, Brosman’s technique allows her to convey the very essence of her topic by those incantations and “immaterial conceits” (as the poem Éventail puts it) that are the mark of exceptional poetry.

Each poem in this award-winning collection represents the life of a carnival performer or that of an outsider whose life is rife with carnival metaphor. For instance, “The Two-Headed Woman and the Two-Faced Man” is both literal and metaphorical. Naturally, she draws carnival audiences, and as an outsider and illusionist of sorts, he complicates her life.
Through deft, incisive portraits, Lesley Dauer populates these pages with people and animals in whom we recognize our own strengths, quirks, and bewilderment. We meet among others: a human cannonball preoccupied with thoughts of his family’s welfare, a contortionist controlled by his emotions, and compassionate dancing bears concerned by the psychological limits of their audience.

In 1976, Joseph Bathanti left his home in Pittsburgh for a fourteen- month sojourn as a VISTA Volunteer with the North Carolina Department of Correction.
His new volume of poems, CONCERTINA, recounts in lyrical sweep his entry into the surreal, brutal, and often terrifyingly beautiful netherworld of convicts and their keepers. It is a world with one foot still firmly planted in the old chain gang, the other venturing beyond the manacles of history into a realm of second chances, while the country, in the throes of its bicentennial celebration, still swoons from Watergate and its aftermath.
What’s more, CONCERTINA, is an outsider’s meditation on the American South and the power of place to transform not only language, but to instill in the speaker the impulse to tell the story of everything his eye lights upon. Indeed, Bathanti’s world is as much about the geography, the very ether, of North Carolina, as it is about prisons. His voice is contemplative, poised on a tightrope of its own making, pitched near detonation.

Death, and the Day’s Light, the volume of poetry James Dickey was working on when he died, offers the writer’s final views on love and death, fathers and sons, and war and resurrection. This volume constitutes an invaluable addition to the canon of a major American poet and allows for a complete understanding of his oeuvre.

The poems in DECEMBERS have been written, usually one a year, beginning in 1973 when the author moved from the South to New Wilmington, Pennsylvania, where he took a job teaching creative writing at Westminster College. They are written to accompany the Christmas cards he and his wife Jane write each year to keep in touch with friends from college, graduate school, and earlier jobs.
These poems arise out of memory, both of the author and those of others. In them Perkins is much more interested in the images of the season, the sights, the sounds, the scents, the textures, and the tastes than he is in the abstractions: joy, love, warmth, gratitude, etc. He is more interested in what the season is than in what it means.

In this collection, Philip Lee Williams shows again his well-known ability to combine the arresting image with the moment of sudden insight. Deeply intertwined with the natural world of his Georgia country home, Williams's poems are testaments both to time-tested forms and the free impulse of contemporary verse.

FIREFLIES is a collection of lyric poems—formal and informal— that seek solace in nature and memory for the heartache of being human.
From children chasing fireflies at night to middle agers chasing lost loves at three in the morning, they trace the compromises we make to make it—the dead mice, cats, fetuses, and loves left in our wakes. And they celebrate the tenuous survival of trees, love, and innocence.

As the opening poem “The Labyrinth Galaxy” suggests, this is not a book of astronomy, but a book of seeking and beseeching. Cathryn Hankla’s GALAXIES forms a collective of connected but disparate things. Each galaxy grouping constitutes a gravitational system of concern, finding its own music and approach to what a poem can be. Together the poems create a spiritual pilgrimage, a sequence sending up an alarm for the earth, inviting the reader to walk a path to the heart’s center.